Communication Process
The person who initiates the communication, having a need or desire to share information.
SENDER
Frames the subject from the waist up. This is the standard shot for dialogue or showing character interaction.
MS
The camera pivots horizontally left or right, typically on a tripod, to follow action or reveal a scene.
PAN
Camera is below the subject looking up, making them appear powerful, heroic, or threatening.
LOW ANGLE SHOT
the "face" of the production who works with directors to create emotionally impactful scenes, primarily by delivering multiple takes of dialogue or actions.
ACTOR
Translating the idea into a message using symbols, words, or gestures that the receiver can understand. (The process where you should think before you communicate)
ENCODING
Frames from the mid-thigh up, originally used in Westerns to show both a cowboy's face and their gun holster.
COWBOY SHOT
The camera pivots vertically up or down, useful for surveying surroundings or creating a subjective viewpoint.
TILT
Camera is above the subject looking down, making them appear vulnerable, weak, or submissive.
HIGH ANGLE SHOT
is responsible for physically capturing scenes by managing framing, movement, and technical settings to fulfill the director's vision. They execute specific shots like Handheld (HH) for dynamic movement or Low Angle (L/A) for dramatic effect.
CAMERA OPERATOR
The actual information being transmitted, such as thoughts, feelings, or data.
MESSAGE
Fills the frame with a specific part of the subject, usually the face, to highlight emotional reactions.
CU
The camera moves physically forward or backward toward or away from a subject.
DOLLY
Taken from directly above, this provides a top-down, often detached, or grand-scale view of a scene.
Bird's EYE
the chief creative decision-maker and visual storyteller, serving as the "CEO" of a film. Their core job is to maintain a unified creative vision by leading all departments (actors, camera, sound, and lighting—towards a single goal )
Director
The method of transmission, including speaking, writing, video, or audio.
Channel/ MEDIUM
Taken from behind the shoulder of another character, common in dialogues.
OTS
The camera follows a subject, usually parallel to its motion, often using tracks, gimbals, or a Steadicam.
TRACKING
The camera is tilted, creating a disorienting, tense, or psychological effect.
Dutch Angle
The person who shapes visual narratives by manipulating story structure, timing, and emotion. They use an interface containing media bins, timelines, and cutting tools to refine raw footage, specifically focusing on building, moving, and cutting scenes to create a cohesive story.
Editor
The person or group for whom the message is intended.
RECIEVER
Shot from the perspective of a character, showing what they see.
POV
The entire camera moves left or right along a track or, in the case of a handheld shot, is carried sideways.
TRUCKING
An extreme low-angle shot from ground level, often used for dramatic, exaggerated perspective
Worm Angle
creates the foundational blueprint for visual storytelling, organizing narratives into scenes using specific formatting (INT/EXT, scene location, time) to guide production. They write action lines in the present tense and craft dialogue,
SCRIPT WRITER